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Иван Милев
A rare and interesting study by Evdokia Peteva Filova, wife of the slain in 1945 Bulgarian prime minister Bogdan Filov.
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A rare and interesting study by Evdokia Peteva Filova, wife of the slain in 1945 Bulgarian prime minister Bogdan Filov.
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The events from a hundred years ago, the centenary commemorations about the 1st World War make especially timely the revelation of that age’s cultural history. The society of Transylvania was sorely tried because of the events and in the meantime it illustrated the sufferings endured as a reflection in a mirror by its spiritual, value-creating power. This thesis is the first summary of the history of art’s references of the four war-time years concerning us. It presents the works of art of the creators who made a service in the field revealing the backgrounds of their genesis. There is distinct chapter joining all these which flashes the fates of the P.(O.)W. camps’ Transylvanian survivors on the basis of a manuscript unpublished so far.
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Knjiga Interaktivna televizija pregled je razvoja interaktivnih usluga od serije američke mreže CBS Vinki Dink i mi iz pedesetih godina dvadesetog veka, preko teleteksta i Berove igre Pong, do današnjih sofisticiranih digitalnih interaktivnih usluga, virtuelnih zajednica, telemedicine, korišćenja dva ekrana, izazova koje nudi digitalno interaktivno oglašavanje. Ova studija ukazuje na programski značaj ovih usluga analizirajući tehnologiju na kojoj su one zasnovane. Knjiga Interaktivna televizija dolazi u pravom trenutku jer nudi odličan uvid u najnoviji razvoj u ovoj oblasti i olakšava razumevanje interaktivnosti koja već danas pretvara televiziju u novi i znatno bogatiji elektronski medij, čija se vrednost sve više određuje upravo popularnošću i pouzdanošću dodatnih usluga koje može da ponudi.
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Here, in this album, Tzotcho Boiadjiev is a photographer. Good photographer, excellent photographer. But Tsocho Boyadjiev is not just a photographer. He is also a philosopher, a professor, a historian, theoretician of photography, a poet, a lecturer, an interpreter... Tsocho Boyadjiev transforms the crucial moments caught in reality into moments of determination, showing eternity of life, the freedom of life. With several techniques of photo-capture: parallels, intersections, branching, crossings, contrasts.
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This present monograph provides a reflection concerning the current state of knowledge, as well as practical results relating to concepts and problems of making more accessible within the museum space various visual arts (both traditional works of art as well as contemporary art forms) to people with various physical or mental dysfunctions and how these forms must be adapted in different ways according to the persons' perception with different dysfunctions such as visual, aural, intellectual etc. The largest part of this publication was devoted to presentation of different problems concerned with making art more accessible to people with dysfunction of sight (Part One entitled “The World Exists but Without Eyes We are Unable to See It”). In the Second Part of this monograph, entitled “With the Eyes of the Butterfly”, we presented articles relating to the ways of making the museum space more accessible to people with impaired hearing and discussed various problems concerning the perceiving of the phenomena of visual fine arts in the environment of its’ deaf recipients. An important assembly of problems and questions also tackled by the authors of this book, which we are proudly handing over now to the reader, was the fine matter of difficult accessibility of art for persons with various intellectual disorders, the problem of integration of the handicapped persons within the museum space and the importance, meaning and vitality of art in the life of people with various physical or mental dysfunctions as means of helping them to become more entwined and connected with the “normal” society. To describe this subject matter we devoted the majority of Part Three entitled “The Universe as Seen Through the Eyes of a Other”. However it must be stated that this book is primarily intended for all persons who are theoretically or practically dealing everyday with the problem of attempting to make more accessible the works of art within the museum space to all persons with various mental or physical disorders. We hope and trust that many art historians, museum educators, architects, sociologists, psychologists, cultural studies experts, linguists, translators, museum staff, curators and designers will find this book useful in their everyday work. “This elaboration – should also become an essential reading for everyone of us – for all fellow-citizens coexisting in our society with the disabled or handicapped persons. After reading this book, we hope that – many of our readers will decide to change the notion of ‹‹exclusion›› and to replace it with the notion of ‹‹coexistence››. And hopefully the ‹‹Other›› will finally become ‹‹exactly the same›› as we perceive ourselves” (citation quoted verbatim from a review of the book by professor habilitated doctor Jan Wiktor Sienkiewicz).
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A study on the works of Maria Peszek and also a guide to performative art, including broad contexts of literature, anthropology, society, social conventions, gender and politics. Owing to the applied methodology, the poetic works of the actor have been analysed using tools originating in cultural studies. The anthropological context of experiencing the city and gender is also noticeable.
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The publication is the first complete study in the form of an academic catalogue of the artistic works by Cyprian Norwid (1821–1883), one of the most outstanding authors in the history of Polish culture. The complete, six-volume edition of the catalogue will include all that was drawn, painted or created in any other technique, that is, it includes drawings, watercolors, paintings and oil studies as well as graphic works, designs for sculptures and medallic works. Apart from the works that have been preserved, also ones that are considered lost, but were published during the artist’s life or after his death, as well as works we only know by their titles or from even minor mentions will be included.The catalogue will include both works with indisputable artistic value and rough sketches like notes in the form of drawings; and also, apart from loose compositions – works drawn on pages of sketchbooks and albums; moreover, drawings that are found in Norwid’s artistic and journalistic texts, in his letters and notes.Volume Four of the catalogue contains the second part of the section: Loose Works, comprising Norwid’s sketches and watercolors painted in the years 1858–1883. Each catalogue item contains complete information on the work, along with its complete bibliography and a color illustration.
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Street art is the most popular, dynamically evolving art form in the world today. It also has the largest audience. At the same time, it remains ephemeral, variable and limitless, and is subject to continuous processes of commercialization, institutionalization and mediatization. As a fruit of the remix culture, street art draws on everything that has already appeared in art: it mixes, transforms, copies and pastes. It cannot be easily defined, and the existing criteria for evaluating art seem inapplicable in its case. In no way should this imply, however, that street art cannot be analyzed. In the book, the author describes selected problems of street art and graffiti using both traditional and contemporary concepts, terminology and methods. She focuses on the relationship between word and image, on highlighting the invisible. The reader learns about street art in both its serious and comic manifestations. The author does not strive to exhaust the subject; on the contrary, she puts forward a preliminary reflection on this still unbridled and expansive form of artistic expression, thus initiating a discussion which the world of art will probably soon pick up.
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O ile nie sposób podać uniwersalnej definicji designu, o tyle codzienna praktyka osób zajmujących się projektowaniem poddaje się różnym opisom tożsamościowym. Trudno jednak wskazać obiektywne kryteria, które pozwoliłyby na przykład na dystynkcję określeń „designer” i „projektant” czy na opisanie warunków niezbędnych, by ten zawód wykonywać (co czyni designera/projektanta – jaki typ przygotowania, doświadczenia, wykształcenia?). Kłopotliwe jest też pytanie o cel i zakres czynności zawodowych (czy to projektowanie form przemysłowych, czy także projektowanie usług? Czy również design doświadczeń?). Zagadnienia te pociągają za sobą kolejne – dotyczące postrzegania projektantów w ramach szerszej struktury społecznej, a więc odnoszące się do kwestii uznania i prestiżu. Jeśli niemal wszystko można nazwać dziś designem i niemal każdego designerem, to oba te określenia właściwie nic nie znaczą. Świetnie więc, że Paulina Rojek-Adamek zajęła się zbieraniem argumentów, które przemawiają za szerokim (bądź przeciwnie – za bardziej restrykcyjnym) rozumieniem designu. (…) Dobrze, że jej rozważania na temat designu i tego, jaka jest (jaka powinna być) dziś rola projektanta nie są zawieszone w próżni. Z jednej strony nawiązują one do coraz bogatszej literatury autorów identyfikujących się z socjologią designu, z drugiej – wypływają z rezultatów zrealizowanego przez Autorkę projektu badawczego.prof. dr hab. Rafał DrozdowskiKsiążka ta jest na pewno pracą erudycyjną, w której uwzględnione zostały zarówno podejścia klasycznej socjologii, jak i współczesnych autorów. (…) Polskiemu czytelnikowi jak dotąd nie zaoferowano wielu prac podejmujących tę problematykę, tymczasem zarówno estetyka, jak i – w węższym ujęciu – praca projektowa są dzisiaj uznawane za kwestię centralną dla rozważań związanych z nową ekonomią, studiami miejskimi, „zwrotem ku rzeczom” czy sztuką publiczną. dr hab. Małgorzata JacynoPaulina Rojek-Adamek, doktor socjologii. W swojej pracy naukowo-badawczej i licznych publikacjach zajmuje się tematyką designu, szczególnie aspektem społecznie odpowiedzialnego projektowania i rolą zawodową projektantów. Publikowała m.in. w czasopismach Polish Sociological Review, Kultura Popularna, Humanizacja Pracy. Współredaktorka tomu Drafts from Sociology of Design. Introduction to Discussion (2016). Adiunkt w Instytucie Filozofii i Socjologii Uniwersytetu Pedagogicznego w Krakowie, od kilkunastu lat współpracuje również z Akademią Sztuk Pięknych w Katowicach.
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The publication entitled The Memory of Time – Painting in the Time of Spiritual Bankruptcy includes over 50 essays pondering various issues of contemporary art in the context of my own experience as a painter, in addition to comments and reflections pertaining to variegated creation-related notions revealed in the course of creative processes during my artistic activity. The analysis of the so-called creative programme of particular painting series: Fantomanie, Kosmogonie, Księga Słońca, Głowy, Rytmy Pamięci, Ogrody Ciemności, Baśniowe Fantazje, Wirtualne Ikony is an attempt to present and describe ideas- and themes-related assumptions of individual artistic productions, as well as to specify the character of their painting language that would correspond to the content and idea expressed by them. Another part of the publication consists of illustrative material – photographs documenting particular works of painting created throughout the 40-year period of my artistic activity. The texts and paintings documentation compose a consistent whole, while the truth and authenticity of individual authorial experience of painting add credibility and substance to the content of the essays. What is pivotal idea here and what constitutes the kernel of both theoretical part (essays, comments) and illustrative material is an attempt at presenting the dramatic withdrawal, atrophy, one may even say bankruptcy of experiencing spiritual space, which is palpable in productions of socalled contemporary art. Philosophical considerations, reflections of such authors as Plato, Saint Augustin, Pseudo-Dionysius, Robert Grosseteste, Saint Bonaventura, or Meister Eckhart referring to the activity in the realm of art, seem today so distant and so unfitting the contemporary mental space, that the awareness of cultural crisis, of disappearing elementary reference points become a dramatic sign of the nowadays cultural disintegration. Within this shattered, fragmented space my painting activity externalizes the voice of a human individual searching for those ignored, unwanted, omitted spiritual spaces, the traces of understanding with great artistic tradition, with efforts of many old masters who wrote, but also materialized through art their great intentions, ideas, creative plans.
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The book entitled A document and artistic creation as mutually complementary forms of depicting reality is a collection of authorial texts which in a different and multifaceted way deal with the universal and still troubling relation between a document and creation, signalling at the same time various understandings of these notions. It presents to readers, especially to those interested in contemporary art, up-to-date theoretical considerations and unique effects of artistic activities, both particularly focused on the analysis of documentary and creative specificity of photography but also on other artistic disciplines, including the current heterogeneous post-media art.
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book was created as a synthesis of experiences, which are the result of many years of theoretical research and practical application of comics in teaching. Haris Cerić, a university professor of pedagogy, in his previous books Scandalon in the Clouds: How to Use Comics in Teaching? (2013) and On the educational potential of comics: contributions to the establishment of the comics method in teaching (2019), considered the possibilities of applying comics in teaching and offered some theoretical starting points for systematic scientific study of comics as a kind of teaching medium, and advocated the establishment of a new teaching method, which he named the comics method in teaching. Elmana Cerić, as a high school teacher of philosophy and logic, has been successfully applying various forms of comics methods in her teaching practice for almost two decades. The positive reaction of students to this method of work has never been lacking. Moreover, all previous generations of students have enthusiastically accepted this alternative approach to teaching philosophy, finding in it an opportunity to express their creative potential and develop critical thinking. Although the possibility of using comics in teaching is wide, ie it is possible with adequate didactic-methodological adaptation, to use it in almost all subjects and at all ages, the authors of this book, above all, want to encourage and motivate teachers of philosophy to use in their work comics method. Because there are at least five qualities of comics that make it an excellent teaching medium in teaching philosophy. It is: Subversive, Transcendent, Reflective, Interesting and Provocative.
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The Selected Texts include critiques, essays, and interviews that the art historian Nena Dimitrijević and the artist Braco Dimitrijević have published both in Croatia and foreign countries during their prolific period that has lasted more than forty years. The significance of this book surpasses the effort needed to collect, and translate this bulk of material. Having in mind that the authors’ carriers, whose success is almost a precendent in the Balkans, have been built upon the international art scene, the Croatian readers have not been familiar with most of their textst published in foreign countries. This book will be very useful for those who shape the reality and future of the domestic art context today. It offers testimonies by the creators and participants of the most significant art phenomena from the second half of the 20th century. It also presents a critical and creative model, and criteria for actively influencing the found structure of a cultural system, which the authors of the book have applied in their performance. In the end, the book offers retrospectively a method for the objective viewing and verification of the highly esteemed conceptual art period, especially the art of the Zagreb circle, with both of them being its valued protagonists. Nena and Braco Dimitrijević are an unusually well-balanced creative couple. Nena Dimitrijević’s curating and critical work is renowned because she has consistently promoted, in print, digital media and exhibitions, the radical strategies of the artists of her generation. She has conceptually and linguistically modernised the media of visual arts critique, and the exhibition practice. Braco Dimitrijević has established himself as one of the leading innovators on the contemporary global art scene with his famous artistic actions and projects that reflect his radical attitudes on the fundamental questions about the art creation and its position in society, that is, the relation of an individual and the political power, or an artist and cultural system. Braco Dimitrijević created his status also by his essential separation from the dominating theoretical, historical, cultural and civilisational models. Nena and Braco’s works overlap in their stance that the sense of the artwork is its cognitive and ethical dimensions, which, articulated into an aesthetic form, operate beneficially and constructively inside the artistic, and wider social discourses. Artists, critics, curators, institutions, and collectors have their distinctive roles in their respective missions. Although the Dimitrijevićs are often percieved as a pair of creative people who are directed toward each other, their separate careers, that of a successful artist, and a successful critic, show the development of the same theoretical standpoint in different areas of work.
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The study deals with the ornamentation – initials, head-pieces, tail-pieces and miniatures – in the Old Bulgarian manuscripts of the First Bulgarian Kingdom and the continuation of the same tradition in the manuscripts of the 11th century. This is the first specific study of the decoration of each of the preserved Bulgarian written monuments of the Early Middle Ages. For outlining the circle of models from which the Old Bulgarian copyists and miniaturists had drawn inspiration were used stylistic and iconographic parallels testifying to links above all with pre-iconoclastic art and the art of the eastern provinces of the Byzantine Empire. As a result of this are predated some manuscripts such as the "Savina Book", the Codex Suprasliensis and Dobromir's Gospel. For amplifying the picture were studied also the more recent Russian copies, which copied not only the text but also the ornamentation of the Old Bulgarian protographs, translated and decorated in the palace scriptorium of the Bulgarian King Simeon in Preslav in the 10th c. Moreover the subject has been specified of the four miniatures on a whole leaf before the two parts of the so-called Svetoslav's Florilegium, as depictions of the first four Ecumenical Councils. The study was the last scholarly work of Vera Mavrodinova, the chief director for many years of the excavtions in the first Christian Bulgarian capital of Preslav. It was completed in 1979 with the assistance of senior research associate Liliana Mavrodinova who tried to bring up to date to a certain degree some formulations.
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A study of the Old Testament subjects and personalities depicted in the mediaeval murals in today's Bulgarian lands. The development is followed up of the invested in them inner sense of the Old Jewish and Early Christian emphasis on God's might, omnipotence, on the new Christian symbolism reflected in the liturgical rite – the typological link between the two Testaments: the Old as the "Entrance" to the New and respectively, the Old Testament subjects and prophecies as the prefigurations of the basic events of the New Testament: the coming of the Messiah, i. e. the incarnation of God-the-Word, the Eucharistic sacrifice – symbol of the redemption of the sins by the Saviour and the Last judgement. The first part of the article is dedicated to the scenes from the Old Testament on the walls of mediaeval churches. By Byzantine masters are painted the earliest murals in "The SS Archangels" in Kastoria. As an example of official Byzantine typology are examined those in "St. Sophia" in Ohrid, commissioned by the Byzantine archbishop Leo in the 11th c.; in the Bachkovo ossuary, as well as the Bulgarian monuments: the "SS Forty Martyrs of Sebaste" in Turnovo, the "Archangel Michael" chapel in the monastery of the same name at Ivanovo, the chapel in Hrelju's Tower at Rila Monastery, the churches "St. Dimiter" in Patalenitsa, in Lyutibrod, in Zemen, "St. Marina" near Karlukovo, etc. In the second part are considered the images of prophets carrying scrolls withe the texts of their prophecies for the principal events in the New Testament. The inscriptions have been made out and specified on the scrolls of most of the prophets in the church of Zemen, the church "St. Peter" in Berende and the layers of the 12th and the 14th centuries in the "St. George" old church in Sofia, the majority of which had so far not been deciphered.
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Written in 2020, the monographic publication Malarstwo jako egzystencja – postawa twórcza a tożsamość osobista [Painting as Existence – Creative Attitude and Personal Identity] is in fact the second part of the publication published by University of Silesia Press in 2020: Pamięć czasu – malarstwo w czasach bankructwa duchowego [Memory of Time – Painting in Times of Spiritual Bankruptcy]. The new publication contains over 20 essays – comments and reflections on the fundamental issue, which is the problem of personal identification of the author in the creative experience. This complex authorial reflection, written in the context of over 40 years of painting practice, in which the issue of personal identity of the author resounds as a fundamental formative element, becomes a significant voice of a man deeply concerned about the state of current artistic activity, where the omission and disregard of this aspect extremely impoverishes the meaning and significance of many achievements in the current sphere of art.
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This educational material was born from the idea of synthesising a material, which would be a visual support for students who are getting familiar with the profession of landscape architecture, focusing on aspects that are important in this regard. It is intended to serve as support material for art-based subjects in their first year of study. But it may also prove useful in the coming years in the development of other designs and projects. I took into account the fact that most students did not pursue studies in art. And those students who nevertheless have experience in artistic creation can also certainly benefit from the approaches and syntheses of the information presented. Basic art tools and techniques are introduced at the beginning. Following that, I present ways to illustrate different plants and trees with different tools in various styles. The theory of the compositional construction of an image is based on these, after which the possibilities of using colours are discussed.This is followed by the presentation of the rules for the construction of the three-dimensional space in perspective with means of drawing. In conclusion, the importance of sketching is discussed, as well as the application of all the presented information in landscape architecture drawing. All information provided herein serves as a basis for the students, besides which their own contribution in the actual elaboration of the drawings is also exceptionally important. The basis of creative work is how it is done, but the soul is what is presented. This can only be added by the individual artists. My goal is to provide students with the necessary tools to help them express themselves, show everything that lies within them, all their knowledge, creativity, and personality. As a motivation, the vast majority of the drawings in this manual were made by students from previous years during the courses I taught them in their first year of study.
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1. Ljubav 2. Klen 3. Nedoumica 4. Internet 5. Skitnice 6. Vulkan i vrba 7. List kupusa i teleća šnicla 8. Naočale 9. Razred 10. Derbi
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This is the first time that a Polish academic has discussed the experience of teaching the disabled in British museums. The book exemplifies the researcher’s professionalism and expertise in the discussed area on a global scale.From a review by Professor Waldemar Deluga, PhDIn her publication, the author interestingly juxtaposes topics that are usually dealt with separately, namely audio description, anthropology of the senses and accessibility in museums. lt is especially engaging to follow the analysis of these three components and their intersection in one book. The case study of London museums is also noteworthy, as it may be of particular interest to Polish readers: art historians, museologists and those concerned with accessibility in museum institutions. The monograph has an interdisciplinary character, drawing on research in art history, translation studies and anthropology, which I consider to be its greatest strength. I also highly appreciate the presented case study of London museums, which can become an example of good practice for Polish artists, curators and museum professionals.From a review by Associate Professor Łukasz Chmielewski, PhD
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Olģerts Liepiņš (1906–1983) – writer and journalist. He started his literary work with feuilletons (pseudonym Eols), reviews of books and theater performances. In Latvia, he worked more in the editorial offices of newspapers and magazines, also worked as a translator. He became more interested in writing while living in Germany and later moving to America. Author of stories, short stories, novels and cultural and historical works. (Wikipedia)
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